This configuration is driven by a 44 rank 96kHz Organ Definition File (ODF). This ODF is a customisation of Neil Jensen's original Connoisseur 3/35 ODF. Samples used are a combination of native and upsampled (i.e. 48 to 96kHz) samples.

The lessons learned from previous configs (see below) have been applied, and since April 2013, the audio configuration has been of 32 channels. This audio config includes one 10 channel (Main) audio group, and one 12 channel (Solo) audio group. The remaining 10 channels being four 2 channel and two single channels (for two sub woofers).

Audio devices used are the RME HDSPe-MADI with the 32 channel M-32DA connected by optical fibre.

The RME equipment represented a large step up in quality and realism compared to its predecessors (Terratec and Egosys, then Presonus, MOTU and Echo)

The lessons learned from previous configs have been applied, and since April 2013, the result is the 32 channel Config RME. This config includes one 10 and one 12 channel group. Config RME represents another leap forward at all levels. I believe that the mix is closer to that which might emanate from a pipe chamber.

Ruby 3/44 Config 9 (Jan 2013)With 12 Behringer B2031A speakers in the Main, and in the Solo, for the first time there was an opportunity to test the impact of two 12 channel groups.

While 8 channel groups eliminate 7ths, 5ths and 3rds being located in a single channel occasionally (but usually just where the ear is most sensitive!) when using the Hauptwerk C C# Octaves and Ranks Cycled audio distribution algorithm, they did not eliminate the occurrence of 3rds ending up together. 12 channel groups do. So, using one of my experimental instances of Hauptwerk, I set up two 12 channel groups. The outcome was beyond my expectations. Tremulants are noticeably more authentic, as is the ability to hear further into the ensemble, but, at the same time with a richer sense of realism and more authentic chamber 'mix'.

Ruby 3/44 Config 8 (Dec 2012)Hauptwerk's excellent C C# Ranks and Octaves Cycled algorithm for multi-channel audio distribution is like everything in life - nothing is for free! Taking as an example, a four channel group, although each note of each rank is in its own channel, and each rank is separate from the other, there are occasions when a triad (say, F-A-C) or even a 7th (say, F-A-C-E) where all those notes end up playing in the same audio channel! Instead of 3, or 4 channels! This is a real issue when tremulated outcomes are being played. The trems can sound like they are electronically 'searching'. Awful on some ranks. So, how to deal with this without losing the magic which the 4 channel groups had wrought? Answer? 8 channel groups! The combination of 5ths and 3rds combining as they do in a 4 channel group does not occur in an 8 channel group.

Ruby 3/44 Config 7 (Sep 2012)Main and Solo Tibias now speak through 6 channels each (consisting of one two channel group [to MIDI note 66] and one four channel audio group [note 67 upwards]).

Ruby 3/44 Config 5 (Dec 2011)The suggestion by Simon Gledhill that two 4 channel groups be created specifically for the Voxes and Saxophone became the major differentiator of Config 4 and 5 from all previous Ruby configurations. The issue which is addressed by 4 channel groups is that with a C/C#/D/D# split, you ensure complete separation of the fourths, augmented fourths and fifths:

1CEG#

2C#FA

3DF#A#

4D#GB

4th4th Augmented5th

C-FC-F#C-G

1 - 21 - 31 - 4

Simon also asked that I tune the Tibias, Voxes and Sax, with the trems ON note by note. Although I already had (for all previous configs) the Tibias flattened slightly (an average of 3 - 5%) to offset the going-sharp of the Tibia trems, Simon's suggestion made an incredible difference. This, when combined with the 4 channel audio groups, removes or ameliorates the intervals which can cause the offending 'ee-waw' from Voxes and the Sax.

Naturally, once completed, this then made these ranks unusable in an off-trem context. That, in turn caused me to make changes to the ODF so that I had identical off trem ranks for the ranks which had been tuned on-trem. There are no limits when one is dealing with a virtual pipe organ!

I had configured two groups of four Behringer B20131A Truths for another person's VTPO. With those speakers I preferred Tibias, Voxes and Sax, in 4ch groups to all other options. Just why I preferred it would never have occurred to me. I have always been so focused on adjacent 3rds and 5ths as being the harbinger of electronic and acoustic mixing nasties! Thank you Simon!

I was so impressed with the impact of the 4 channel groupings on these, and other ranks impacted (I had allocated 4 ranks per 4 channel group), that the number of 4 channel groups has now been extended to a total of six in Config 5. Very often the outcome is greater than the sum of their parts. Which was the reality for the Voxes. Two of which (Main and Solo) spoke through two 2 channel groups, split in the middle. Other ranks display a new level of transparency which is not achieved by using 2 channel groups, or even using two 2 channel groups as was the situation with the Voxes.

Interestingly, all Tibias remain in two channel groupings, for now. The 3-way loudspeakers used imbue a quality that the 2-way Behringers can't deliver. However, my ears tell me that four 3-ways would be heaven! Config 6?

The Hauptwerk Organ Definition File (ODF) is Neil Jensen's standard 3/35 ODF expanded to accommodate Ruby's 44 rank specification with the std set of HW tremulants increased from 20, to 25 and other tremulant changes to suit such changes.